980 Long began making new types of mud works using hand prints applied directly to the wall. He also constructed large lines and circles of stones, slate, and sticks, often collected on his walks or, in later years, from locations near the exhibition sites.
986 The Solomon R. Guggenheim Museum organised a major exhibited of Long's work from the 1970s and 1980's
988 Long was given a solo exhibition at Neue Galerie- Sommlung Ludwig, Aachen, in conjunction with his receipt of the Kunstpreis Aachen.
989 Long was awarded the prestigious Turner Prize in London. The Hayward Gallery, London, organized an exhibition of Long's work in 1991. The artist currently lives in Bristol.
Richard Long lives in Bristol and continues to travel the world to make his work
Biography of Robert Smithson
938 Robert Irving Smithson born in Passaic, New Jersey on January 2
956 Student at Brooklyn Museum School and Art Student's League. Joins the army, becomes office trainee and designer for cultural activities together with Charles Haselhoff, John Cassavetes and Miles Kruger.
957 Discharged from the military. Moves to New York. Partakes in the Cedar Bar milieu. Designs two book illustrations; Franz Kafka's Parables and Nathanael West's Miss Lonely Hearts. First exhibition of approx. 50 pastels, drawings and gouaches in Allan Brilliant's apartment in New York.
958 Hitchhikes throughout USA. Meets Hubert Selby, Jack Kerouac and Allen Ginsberg. Designs two covers for the poetry magazine Pan
959 Visits William Carlos Williams in New Jersey. Works in Beat bookshop, 'Wilentz's Eighth Street Bookstore' First solo exhibition of paintings at Artists Gallery, Lexington Avenue NY, October 17
960 Meets Sol LeWitt
961 Invited by George Lester to exhibit in his gallery in Rome Reads literature about psychology and religion. Solo exhibition, Galleria George Lester, Rome, July 15
962 Exhibits twice in Richard Castellano Gallery, NY. Takes an interest in underground films
963 Marries Nancy Holt and moves to 799 Greenwich Street, NY
964 Works with sculptures in plastic, metal and mirrors
965 Exhibits 'Plastics' in John Daniels Gallery. New acquaintances: Dan Flavin, Donald Judd and Sol LeWitt.
966 Undertakes a series of excursions to cities, industrial sites and quarries in New Jersey with different people including Carl Andre, Ted Castle, Richard Long and Claes Oldenburg
967 Writes a series of articles for Art forum including 'Some Void Thoughts on Museums' (Arts Magazine)
968 Embarks on excursions with colleagues, to Connecticut, New Jersey, Nevada and California. Exhibits twice in Dwan Gallery, NY; the first, Earth Works, introduces the Land Art movement in USA. Completes several temporary installations in environments outside the traditional art forum
969 Constructs Mirror Displacement (Cayuga Salt Mine Project) for the exhibition 'Earth At', Cornell University, Ithaca, New York. Travelling exhibition, when attitudes become Form, shown in Europe. Introduced in Germany in the television program Land Art.
970 Creates Partially Buried Woodshed at Kent State University, Ohio. Leaves land at Rozell Point, Great Salt Lake, Utah in order to build Spiral Jetty.
Makes film Spiral Jetty together with Bob Fiore and Barbara Jarvis. Exhibits Spiral Jetty in Dwan Gallery, NY
971 Makes film Swamp together with Nancy Holt. Built Broken Circle/ Spiral Hill in Emmen, The Netherlands. Anticipating new projects, purchasing Little Fort Island, Maine and Utah property in Utah.
972 Begins planning Ring of Sulphur and Asphalt. Proposes projects for excavation companies about 'reclaiming' quarries as art. Publishes article 'The Spiral Jetty' (in Arts of the Environment)
973 Plans Amerillo Ramp in Amarillo, Texus. Dies in plane crash on July 20 while photographing the work Amarillo Ramp.
Traditional paintings of the surrounding nature and journeys
All paintings visually record/ document something, whether it be a mythological scene or a type of emotion. Here I am looking at how traditional artists portray nature around them through realism or abstraction of forms.
Casper David Friedrich The Wreck of the Hope
The hard, jagged edges of a ruptured ice floe dominate this composition. They have been painted so precisely and crisply that they appear cold to the touch. The luminous light, which bathes the scene, causes the painting itself to glow. The wrecked ship, part of William Parry's expedition to the Arctic in 1819-20, seen on the right, is tiny in comparison to the ice - therefore demonstrating the dominance of nature over man. Friedrich was a major figure in the Romantic Movement, which sought to depict emotions such as loneliness and desolation. His paintings always drew out the spiritual nature of landscape, and often depicted nature at its most melancholy: lonely stretches of sea and mountains, or snowscapes bathed in strange and eerie luminosity, this demonstrates pathetic fallacy (when the landscape reflects the emotion). He was particularly interested in painting the effects of light and the seasons. His realistic yet symbolic landscapes embody the Romantic spirit, yet remain totally unique.
Paul Cézanne Mont Sainte- Victoire
Contrasting to Friedrich's cold realism and tight brushwork, here Cézanne captured the warmth of nature in his painting with more gestural brushstrokes. Purples, blues, yellows and reds create this mountain in the South of France. Rather than altering the tones of the colours as they changed with the light and shade, Cézanne changed the colours themselves. The mountain and surrounding landscape have been simplified into geometrical shapes and planes of colour. The result is a painting that may not faithfully reproduce the scene, but which evokes its tones and volumes through the interplay of light and shade. Cézanne said that he 'wanted to do Poussin again, from Nature'. He achieved this by combining direct studies of the landscape with a Classical sense of form. Mont Sainte- Victoire, near the artist's home town of Aix-en-Provence, was Cezanne's favourite subject. He returned to it again and again throughout his career, producing paintings that were increasingly radical in conception. His reduction of nature into simple geometric shapes, and his use of bold colours, point to the later work of the Cubists and the Fauves.
Documenting a Journey
Escher House of Stairs 1951
This is an illustration by Escher depicting a journey. It is a frieze- like image and shows sequential movement by conveying the animal in a series of different positions. This creates a continuation of the form, which emphasises the journey.
However this contrasts to the artists that I am studying, as their photographs are static records of a journey.
I have chosen three artists who are primarily sculptors who create installations out of nature. They travel, recording their findings/ creations or journeys using photography.
'I stop at a place or pick up a material because I feel that there is something to be discovered' -Andy Goldsworthy
Goldsworthy was the first artist I was inspired by, he is a prime example of somebody who uses this methodology. Most of his work is impermanent and decays as nature melts it or disseminates it with wind and rain. Part of his work is therefore the documentation of his sculptures with photography and videos. He is still working today and his work can be seen in many books and videos or in person if you're lucky enough to see it still intact.
Here Andy Goldsworthy displays his installations after discovering this discarded material. He then uses photography as a photographic record.
Primary research on Richard Long
To find out more personal information about my chosen artists I looked on the Internet.
Firstly I decided to look at the artist Richard Long. I found a gallery called the 'James Cohan Gallery', which had recently displayed his work. I e-mailed many people in connection with the gallery, and got a reply from a Julia Sprinkel. My questions were...
-What was the first journey you recorded using photography?
-Did any other artists inspire you to create these installations?
-Do you prefer to create and exhibit your work in natural
surroundings or in galleries?
-How do your findings on your journeys relate to your
sculptures?
-What do we expect to see from you in the future?
Hotmail(r)
[email protected]
From :
Julia Sprinkel <
[email protected]>
Reply-To :
[email protected]
To :
'Caroline Mackenzie' <
[email protected]>
Subject :
RE: interview/ info on Richard Long
Date :
Tue, 03 Dec 2002 16:15:26 -0500
Dear Caroline,
There are two websites that I think you will find helpful. The first is
www.richardlong.org and the other is www.therichardlongnewsletter.org.
Additionally, if you send questions for Richard via the gallery we would be
happy to forward them on to him. When e-mailing your questions,please
include your address and fax number so we may forward on any response
Richard may have. It would be best however to see if any of your questions
can be answered by reviewing the information provided on the website.
We have recently added to our website a wonderful article that appears in
the Fall issue of Modern Painters. If you go our current exhibition page,
there should be a link to articles and you should find it there. You will
need Adobe Acrobat Reader to print this out. Alternative, you could pick up
a copy on the news stand as it is a British publication.
I hope this information is helpful.
Kind regards,
Julia Sprinkel
James Cohan Gallery
-----Original Message-----
From: Caroline Mackenzie [mailto:
[email protected]]
Sent: Friday, November 29, 2002 12:02 PM
To:
[email protected]
Subject: interview/ info on Richard Long
Dear Sir or Madam,
I am currently studying photography at A-level in London. I have
decided to carry out my course-work on Richard Long, and I know you, the
James Cohan Gallery have exhibited his work. I would very much like to ask
him some questions, either by e-mail or by letter. If I give you some
questions would you be able to forward them to him, or give me an address or
contact number to get in touch with him. If it is possible to do this my
e-mail address is
[email protected]. Thank you.
- What was the first journey you recorded using photography?
- Did any other artists inspire you to create these installations?
- Do you prefer to create and exhibited your work in natural
surroundings or in galleries?
- How do your findings on your journeys relate to your sculptures?
- What do we expect to see from you in the future?
Yours sincerely
Caroline Mackenzie
Evaluation of Response
I replied with my address, contact numbers etc. however the contact was not successful as I am still waiting for a response from Mr Long.
I know that other students have tried to contact artists such as Richard Long and Andy Goldsworthy and have not been successful either. I am frustrated that artists who are so concerned with and sensitive to environmental issues seem to be so disinterested in their fellow human beings.
However I can understand why these artists crave peace in their lives, as it helps to put them in the frame of mind to carry out these natural works in the tranquillity of the countryside.
Research on Richard Long
You can record your findings in many different ways, written works such as travel books, audio sound on cassette and photographs as a visual record.
Richard Long's sculptures are a record of the artist's journey through a landscape. This approach has taken him to all corners of the world. He marks his journey in different ways; he may leave a simple sculpture of stones, brushwood or seaweed, using basic shapes known to man for millions of years. Some of his sculptures are permanent, such as a line of rocks laid high in the Himalayan wilderness; the less permanent are exhibited in the form of photographs or maps.
I went to the Tate Britain and saw an exhibition called 'Ten Days Walking'. I saw more of Richard Long's work including different ways in which to convey a journey, using 'sound circles' and 'drawing your route over a map' as illustrated on the exhibition brochure.
Map and photographic evidence of Richard Long's journey, again in the Tate Britain brochure.
My response to the work of Richard Long
I decided to carry out a walk myself and to record it using Richard Long's methodology, which was photography and 'sound circles' and my own experimental method using sound. I travelled to Wales on a wet weekend and went for a walk around the countryside, 'the landscape walk' soaking up the mood and atmosphere by using professional audio equipment. I then took a trip to the coastline, 'the coastal journey' and recorded the difference in sound.
I have also taken pictures to give visual imagery (photographic evidence) as well as audio. Looking at the pictures with the sound effects, and the 'sound circles' (-literal sound, influenced by Richard Long) really gives you the sensory qualities of capturing the nature filled atmosphere.
My journey round a lake by rowing boat. Me with my audio equipment...
...Then climbing over slate and rocks into fields...
...across the boggy ground to another lush green field...
...and finally into the woods where a trickling stream marked the end of our journey. Now, all the way back again.
'Sound Circles'
I wrote down the sounds I heard on my landscape journey, influenced by Richard Long's methodology of recording a journey
These are the same sounds just compositionally ordered differently, again in a circle, which typifies Richard Longs style (as Long's installation compositions are normally arranged in circles, which symbolises harmony).
Here is the journey I took from my landscape journey up to my coastline journey in Wales- the black line marks where we travelled north to the coast.
This visual stimulus was influenced by the 'map of the area' where Richard Long, marked his journey with dark ink.
Paused as I descended the steps to the Welsh coast...
... looking down as streams rushes into the sea...
...down to the foaming sea as it laps up the shore...
...waves crash onto the rocks.
Analysis of work
Andy Goldsworthy
"Continuous grass stalk lines
each stalk pushed into the wider hollow end of another
or two thin ends joined with a short length of the thicker stalk
edged a hole, climbing a tree
pinned with thorns"
YORKSHIRE SCULPTURE PARK, WEST BRETTON & HELBECK, CUMBRIA
SEPTEMBER 1983 & MAY 1984
This abstract photograph reminds me of the reaction when one drops ink or paint into water, as the shape seems quite random in composition. The photograph emphasises its abstract qualities by the picture almost being divided into two halves-like an overlap of images.
This Goldsworthy composition resembles the kind of line that Mattise uses. As it resembles the organic, swirling abstracted shapes.
'Final series, Paper Cut Out'- Mattise
"Blades of grass
creased and arched
secured with thorns"
PENPONT, DUMFRIESSHIRE
4 AUGUST 1988
Again the image seems to be split into 3 separate compositional groups to reflect the discovery of the works. To me this is a representational photograph as it reminds me of a millipede. It has a sensual quality to it as you can imagine the hard shell (exterior) and the many legs.
There is a distinct rhythm of the millipede as it winds its way along. Maybe the three distinct sections show the progression of this journey. The almost luminous green leaves (freshly found) reflects the liveliness of the creature.
"Bright sunny morning
frozen snow
cut slab
scraped snow away with a stick
just short of breaking through"
IZUMI-MURA, JAPAN
9 DECEMBER 1987
Andy Goldsworthy again uses circles to illustrate perfection. This is contrasted by the triangular mound of snow in front of the sculpture.
The background this time, is documented in the photograph, illustrating the location. The diagonal line of the mountain reflects the triangular shape overlapping the sculpture, giving the image a sense of drama and interest. It also contributes to the photograph a sense of rhythm and repetition.
There is a suggestion that the mountain continues into the viewer's world as echoed by the triangular shape in the foreground.
"Rowan leaves laid around hole
collecting the last few leaves
nearly finished
dog ran into hole
started again
made in the shade on a windy, sunny day"
YORKSHIRE SCULPTURE PARK, WEST BRETTON
25 OCTOBER 1987
Goldworthy uses a gradation in colour here, from the fresh rich red colour to the dull yellow. The textured ground contrasts with the black hole, which breaks up the pattern of the leaves.
This work strikes me as symbolic. The leaves are autumnal colours, which we normally associate with death of nature. He has used the Rowan leaves for their rich colours. The hot colours illustrate fire, which also represent a parallel with life- heat and warmth. The warm colours remind me of a glowing fire. Paradoxically the element of fire is both life as it creates warmth. However it is also destructive, as a lack of control over it is a killer
Death is inevitably portrayed by the bleak black hole, in the middle of the decaying of leaves. A black hole also signifies infinity: black holes in space, such as vortexes that suck up matter and energy.
Richard Long
ELTERWATER STONE RING
ABBOT HALL ART GALLERY KENDAL 1985
Richard Long uses jagged, uneven stone to complete a perfect geometric circle. Its ironic as the circle symbolises God and his perfection, the smoothness of the circle contrasts with the unevenness of the sharp stone. Apart from the physiological side the work is full of symbolism. The stones are cut to show harmful or dangerous edges, which look very threatening. This contrasts to the symbolic meaning of the circle, which is of harmony. However the circle can also symbolise strength reflected in the bulky stone.
WATERLINE
SPERONE WESTWATER NEW YORK 1989
Richard Long seems to be influenced by Jackson Pollock here. The paint is very gestural and loosely distributed onto the canvas.
Autumn Rhythm (number 30), Jackson Pollock
Oil on canvas, 8 ft. 9 in. * 17 ft. 3 in., 1950
Similar to Pollock' s work this piece is abstract and employs a fluid use of paint. I believe it is representational of a river, as the piece is in a lengthy line stretched out on the floor, running away from the viewer. The looseness of the line may reflect the running movement of the water.
BRITTANY CIRCLE
DOMAINE DE KERGUEHENNEC 1986
This is one of Richard Long's abstract works. The reddy stone contrasts to the lush greenery around it, as red and green are complimentary colours.
We can see that Long has documented his surroundings so the viewer can tell that he travels as all his photographs are of different places. Richard Long also uses circles to convey harmony; this may be reflected in the peaceful surroundings.
Circles also represent perfection according to ancient Greek cultures. Circles echo the shape of planets in the universe, for example the sun, the moon.
FOOTPRINT CIRCLE
A 7 DAY WALK IN THE VALLE PELLICE
PIEMONTE ALPS ITALY 1989
Long has walked in a circle, imprinting his tracks in the snow. A question I ask myself is 'Why has Long made this circular journey'? Perhaps he is highlighting the futility of life- we go round and around in circles. Or maybe he is trying to create an impression of wholeness and unity.
Here the circle is reminiscent of a mysterious crop circle. Which emphasises there once was presence of someone in this spot.
Crop- circle, Wiltshire
Crop circles are a worldwide phenomena, highlighted in England, the Netherlands, the United States and Australia.
The crop circle phenenomenon was first reported during modern times in 1972 when two witnesses, Arthur Shuttlewood and Bryce Bond, sat on the Slope of Star Hill near Warminster, England, hoping to catch a glimpse of the strange unidentified flying craft that had made this part of England a UFO Mecca for almost a decade. But what they witnessed on the moonlit night was something more extraordinary- a hundred feet away they saw an imprint take shape, a larger circular area of plants collapsed within 20 seconds.
Long used a series of lines and circles in this picture which creates many patterns, one of which included the circle being interrupted or cut up by dotted lines. The white line where the snow stops echoes the line of the path in the far distance. This gives a sense of repetition and rhythm to the image.
CORNWALL SLATE LINE, 1990
DELABOLE SLATE. L2540 BY W230
This linear sculpture has been created out of pieces of slate picked up on a walk through the Cornish countryside. Each one has been chosen at random, but is carefully placed in a straight line, which can be moved to any place capable of accommodating its massive size. This work can be considered as Conceptual as the installation of the line represents the idea of the walk, which has already taken place. Long has extended the definition of sculpture to include a dimension of time; his sculptures are a record of the artist's journey through a landscape.
Robert Smithson's work
SPIRAL JETTY
Rozel Point, Great Salt
Lake, Utah
April
Robert Smithson's monumental earthwork 'Spiral Jetty' is located on the Great Salt Lake in Utah. Using black basalt rocks and earth from the site, the artist created a coil 1500 feet long and 15 feet wide that stretches out anti-clockwise into the translucent red water.
Here Smithson has filmed this massive work from a plane.
The line of the rocks separates the light pink and dark blue colours of the sea almost resembling the ying yang sign.
This symbol (Yin-Yang) represents the ancient Chinese understanding of how things work.
While 'yin' would be dark, passive, downward, cold, contracting, and weak, 'yang' would be bright, active, upward, hot, expanding, and strong. Again the composition is circular representing the universe. I think that Smithson is representing the conflict between good and evil in this work, however Smithson seems to be representing a more realistic view of the borders, between good and evil, which is not as clear cut as the 'yin- yang' sign.
UNTITLED
6 STOPS ON A SECTION
Laurel Hill, NJ
968
Smithson has used a contrasting black and white photograph set against a bright colour background. The subject is the photograph in the foreground, but Smithson also documents his position by photographing the rocky background. The picture and the background seem to be very separate from each other. Maybe Smithson is exaggerating his ability to travel to different places.
The similarities between the two pictures include the rocks and the sky. However the skylines are at very different angles. The skyline in the picture corresponds to the picture edge.
However the real photograph has a diagonal skyline instead of a horizontal one.
MIRROR TRAIL (ITHACA)
Ithaca, NY
Feb, 1969
Again Smithson uses a bright blue almost luminous image and contrasts it against a white background of snow. This time the image almost becomes a part of its surroundings by the shrubbery around it. However the square composition differs greatly from its background in terms of shape. The square seems unnaturally placed in the centre of the photograph. Maybe this symbolised Smithson's unease in the country, or longing to be somewhere else.
YUCATAN MIRROR DISPLACEMENTS
The red grainy soil contrasts with the sharp geometric shape of the square, however all the squares surfaces seem to be interrupted by the rich soil. This creates uncompleted squares, in this abstracted work. However the only complete square is the frame.
The texture of the earth, as well as the shape contrasts to the smooth flawless surface of the mirror. However, Smithson destroys this smoothness by contrasting it to the rough/grainy earth. Smithson may be conveying that the man-made objects such as the mirror originated out of the imperfections of nature, as sand created the mirror. In a sense the mirrors seem to be disappearing back into the earth and converting into what they once were. Therefore Smithson interlinks the tangible and intangible elements together.
MIRROR SHORE
Sanibel Island, FL
April, 1969
A continual theme is seen throughout Smithson's work, which is the theme of reflection. The mirrors here reflect on to the soaked shore. In turn the water reflects the light up again, to give varying beams of light.
There is a sense of rhythm and repetition in this work as the linear mirror echoes the line of the shore.
Smithson also uses the 'rule of thirds' in the composition to create interest. Again Smithson interlinks the physical and spiritual worlds together.
ROOTS AND ROCKS
Palenque, Mexico
April, 1969
Colour is introduced to the photograph by means of reflection this time the reflection is natural. The orange and blue colours stimulate each other, as they are complimentary colours.
The vanishing point is illustrated by the pools of water and the hedge line as they slowly recede into the background.
HYPOTHETICAL CONTINENT OF
GONDWANALAND- ICE CAP
Yucatan, Mexico
April, 1969
This is a representational installation of an ice cap, which is represented by the white rock in the centre of the picture. The shape is simplified and abstracted.
A criticism of the work is that the rich ready colour is not constant all the way round the picture. The dark shadow in the top right hand corner disrupts the continuity of the photograph.
Although the picture does not include mirrors, it does once again illustrate a lighter smoother surface against a darker non-reflecting surface.
The scale of this piece is unknown. It is hard to tell the size of the rocks or boulders as the shrubbery or tree size above the rocks are unknown.
Smithson plays God in this photograph, as he seems to create a whole new continent, hence the title 'Continent of Gondwanaland' which I think Smithson bases on 'Wonderland',
-another fantasyland.
You can also tell that Smithson plays God as the angle of the photograph is taken looking down, as if God is looking down from heaven. This gives Smithson authority and power.
Conclusion
I set out to research and gain an understanding of the methods and symbolism involved in a journey- the different ways that are available to record and display a journey.
My investigation into the works of Andy Goldsworthy, Richard Long and Robert Smithson led me to experiment with compositional patterns and as a result of this work I experimented by taking a walk myself and seeing what I myself discovered. I used the following techniques similar to Richard Long by using different media to document my journey.
Similarities-
* They record there work using the same media- photography, using colour film;
Andy Goldsworthy
Richard Long
Robert Smithson
* Andy Goldsworthy, Richard Long and Robert Smithson all use circles or circular compositions in their installations;
Andy Goldsworthy
Richard Long
Robert Smithson
* Documented the surroundings by conveying their where- abouts in the photograph. It gives an impression of travel as contrasting backgrounds are used;
Andy Goldsworthy
Richard Long
Robert Smithson
Differences-
* Richard Long brings his nature compositions into art galleries, where Robert Smithson and Andy Goldsworthy compose them on site/ natural surroundings;
Richard Long
Andy Goldsworthy
Robert Smithson
*
Andy Goldsworthy divides some of his photographs into 3 abstract sections, reflecting the length and continuity of his work;
Andy Goldsworthy
Richard Long
Robert Smithson
Robert Smithson uses film to record his massive installations, unlike Andy Goldsworthy and Richard Long who uses photography, as their installations aren't to a large scale;
Robert Smithson
Andy Goldsworthy
Richard Long
Bibliography
Websites-
http://www.robertsmithson.com
http://cgee.hamline.Edu/see/goldsworthy/see_an_andy.html
http://www. diacenter.org/ltproj/spiraljetty
http://www.nps.gov/gosp/tour/jetty.html
http://www.nps.gov/gosp/tour/pagel.html
http://www.therichardlongnewsletter.org
http://www.info@jamescohan
Books-
Andy Goldsworthy - Andy Goldsworthy
Walking in Circles - Richard Long
The Art Book - Phaidon
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